Wu School - Goha

Japanese: 呉派 - ごは
Wu School - Goha

One of the schools of landscape painting in the Ming Dynasty in China. It refers to painters of the Southern School style of the Ming Dynasty who revived the traditions of the Four Great Masters of the late Yuan Dynasty and developed them to form a style of painting. The "Wu" in Wu School is the old name of Suzhou, and since there were many people from this area, it was called the Wu School in contrast to the Zhejiang School, and it is also a name for the style of painting. In the early Ming Dynasty, Shen Zhou, who is said to be the founder of the Wu School, emerged and Suzhou was revived as the center of the Art Garden, and his disciple Wen Zhengming was active for over 30 years at the center of Suzhou literati painters and built the foundation of the Wu School. Wen Zhengming's family and disciples included Wen Bo-ren, Wen Peng, Wen Jia, Chen Chun, Lu Zhi, Ju Jie, Qian Gu, Zhu Lang, Lu Shidao, and many other literati painters, and the Wu school flourished and became the mainstream of the Suzhou painting world in the second half of the 16th century. At the end of the Ming Dynasty, Dong Qichang emerged in Songjiang and achieved success, advocating the theory of "denigrating the north to the south," which asserted the superiority and orthodoxy of literati painting, and had a decisive influence on the next generation of landscape painting.

[Shinya Hoshiyama]

Shen Zhou's "Fishing in the Autumn Forest"
Ming Dynasty (1475) Work section 152.4 x 62.9 cm, owned by the Metropolitan Museum of Art ">

Shen Zhou's "Fishing in the Autumn Forest"

Wen Zhengming's "Map of the Buildings"
Ming Dynasty (1543) Work section 95.3 x 45.7 cm, owned by the Metropolitan Museum of Art ">

Wen Zhengming's "Map of the Buildings"


Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

中国、明(みん)代の山水画の流派の一つ。元末の四大家の流れを復活、それを展開して画派としての様式を形成した明代の南宗画(なんしゅうが)風の画家たちをいう。呉派の呉は蘇州(そしゅう)の古名で、この地の人が多かったので浙派(せっぱ)に対し呉派とよび、作風上の呼称ともなっている。明初に呉派の祖といわれる沈周(ちんしゅう)が出て蘇州は芸苑(げいえん)の中心としてよみがえり、その門下の文徴明は、蘇州の文人画家の中心にあって30余年活躍し、呉派の基礎をつくった。文徴明の一族と門下から文伯仁(ぶんはくじん)、文彭(ぶんほう)、文嘉(ぶんか)、陳淳(ちんじゅん)、陸治、居節、銭穀、朱郎、陸師道のほか多くの文人画家を出し、呉派は隆盛を誇り、16世紀後半の蘇州画壇の主流となった。明末に松江に董其昌(とうきしょう)が出て大成し、文人画の優位と正統性を主張した「尚南貶北(しょうなんへんぼく)論」を唱導し、次代の山水画に決定的な影響を与えた。

[星山晋也]

沈周『秋林間釣図』
明代(1475年) 作品部152.4×62.9cmメトロポリタン美術館所蔵">

沈周『秋林間釣図』

文徴明『楼居図』
明代(1543年) 作品部95.3×45.7cmメトロポリタン美術館所蔵">

文徴明『楼居図』


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